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|a 9789048552900
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|a (MiAaPQ)EBC6811535
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|a (Au-PeEL)EBL6811535
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|a (OCoLC)1287133951
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|a MiAaPQ
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|a Fitzmaurice.
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|a Authorizing Early Modern European Women.
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|a 1st ed.
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|a Amsterdam :
|b Amsterdam University Press,
|c 2021.
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|c ©2022.
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|a 1 online resource (290 pages)
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|a text
|b txt
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|a computer
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|2 rdamedia
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|a online resource
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|a Gendering the Late Medieval and Early Modern World Series
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|a Cover -- Table of Contents -- Acknowledgments -- 1. Introduction: Biography, Biofiction, and Gender in the Modern Age -- James Fitzmaurice, Naomi J. Miller, and Sara Jayne Steen -- Section I: Fictionalizing Biography -- 2. Sister Teresa: Fictionalizing a Saint -- Bárbara Mujica -- 3. Portrait of an Unknown Woman: Fictional Representations of Levina Teerlinc, Tudor Paintrix -- Catherine Padmore -- 4. An Interview with Dominic Smith, Author of The Last Painting of Sara de Vos: Capturing the Seventeenth Century -- Frima Fox Hofrichter -- 5. Lanyer: The Dark Lady and the Shades of Fiction -- Susanne Woods -- 6. Archival Bodies, Novel Interpretations, and the Burden of Margaret Cavendish -- Marina Leslie -- Section II: Materializing Authorship -- 7. Bess of Hardwick: Materializing Autobiography -- Susan Frye -- 8. The Queen as Artist: Elizabeth Tudor and Mary Stuart -- Sarah Gristwood -- 9. "Very Secret Kept": Facts and Re-Creation in Margaret Hannay's Biographies of Mary Sidney and Mary Wroth -- Marion Wynne-Davies -- 10. Imagining Shakespeare's Sisters: Fictionalizing Mary Sidney Herbert and Mary Sidney Wroth -- Naomi J. Miller -- 11. Anne Boleyn, Musician: A Romance Across Centuries and Media -- Linda Phyllis Austern -- Section III: Performing Gender -- 12. Reclaiming Her Time: Artemisia Gentileschi Speaks to the Twenty-First Century -- Sheila T. Cavanagh -- 13. Beyond the Record: Emilia and Feminist Historical Recovery -- Hailey Bachrach -- 14. Writing, Acting, and the Notion of Truth in Biofiction About Early Modern Women Authors -- James Fitzmaurice -- 15. Jesusa Rodríguez's Sor Juana Inés de la Cruz: Reflections on an Opaque Body -- Emilie L. Bergmann -- Section IV: Authoring Identity -- 16. From Hollywood Film to Musical Theater: Veronica Franco in American Popular Culture -- Margaret F. Rosenthal.
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|a 17. The Role of Art in Recent Biofiction on Sofonisba Anguissola -- Julia Dabbs -- 18. "I am Artemisia": Art and Trauma in Joy McCullough's Blood Water Paint -- Stephanie Russo -- 19. The Lady Arbella Stuart, a "Rare Phoenix": Her Re-Creation in Biography and Biofiction -- Sara Jayne Steen -- 20. The Gossips' Choice: Extending the Possibilities for Biofiction with Creative Uses of Sources -- Sara Read -- 21. Afterword -- Michael Lackey -- Index -- List of Figures -- Figure 3.1. Portrait Miniature of an Unknown Woman, c. 1560, watercolor on vellum, attributed to Levina Teerlinc (c. 1510/20-1576). © Victoria and Albert Museum, London. -- Figure 4.1. Judith Leyster, Self-Portrait, c. 1633. National Gallery of Art, Washington, D.C., Gift of Mr. and Mrs. Robert Woods Bliss. -- Figure 8.1. The image on the left is from the portrait attributed to William Scrots (Royal Collection) -- the central one from the "Ermine" portrait variously attributed to William Segar and Nicholas Hilliard (Hatfield House) -- the image on the right, by an -- Figure 8.2. Flora Robson as Elizabeth I and Vivien Leigh as Cynthia in Fire Over England (1937), United Artists. Masheter Movie Archive / Alamy Stock Photo. -- Figure 10.1. Cover image for Imperfect Alchemist. Photograph courtesy of Allison & -- Busby. -- Figure 11.1. Waxwork Minstrel with Anne Boleyn, Hever Castle & -- Gardens, Kent, UK. Photograph courtesy of Hever Castle & -- Gardens. -- Figure 11.2. Emanuel Gottlieb Leutze, "Anne Boleyn Advising Henry VIII to Dismiss Cardinal Wolsey." Photograph courtesy of VAN HAM Fine Art Auctioneers / Saša Fuis. -- Figure 14.1. Karen Eterovich as Aphra Behn in Love Arm'd (2002). Photo by Rob Ferguson. By kind permission of Karen Eterovich.
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|a Figure 14.2. Emilie Philpott Jumping the Shark at the dress rehearsal of Cavendish, Woolf, and the Cypriot Goddess Natura. Nicosia, Cyprus, 7 April 2017. Photo Credit / Permission: James Fitzmaurice. -- Figure 17.1. Attributed to Sofonisba Anguissola, Lady in A Fur Wrap (Glasgow, Pollok House). Photo credit: Album / Alamy Stock Photo. -- Figure 17.2. Sofonisba Anguissola, The Chess Game (Poznan, National Museum). Photo credit: The Picture Art Collection / Alamy Stock Photo. -- Figure 17.3. Sofonisba Anguissola, Family Portrait (Niva, Nivaagaards Art Gallery). Photo credit: Heritage Image Partnership Ltd / Alamy Stock Photo.] -- Figure 18.1. Artemisia Gentileschi, Susanna and the Elders, signed and dated 1610, oil on canvas. Collection Graf von Schönborn, Pommersfelden, Germany. -- Figure 18.2. Artemisia Gentileschi, Judith Slaying Holofernes, c. 1612-1613, oil on canvas. Museo Capidimonte, Naples, Italy. -- Figure 20.1. The frontispiece of Jane Sharp's The Compleat Midwife's Companion, 1724. Credit: Wellcome Library, London.
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|a Description based on publisher supplied metadata and other sources.
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|a Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2023. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.
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|a Electronic books.
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|a Miller.
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|a Steen.
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|i Print version:
|a Fitzmaurice
|t Authorizing Early Modern European Women
|d Amsterdam : Amsterdam University Press,c2021
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|a ProQuest (Firm)
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| 830 |
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|a Gendering the Late Medieval and Early Modern World Series
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|u https://ebookcentral.proquest.com/lib/matrademy/detail.action?docID=6811535
|z Click to View
|
